C. Brøns, J. Stenger, A. Katerinopoulou, K. Eremin, K. Smith, G. Rayner, S. Ebbinghaus & J. Kveiborg (April 2024), Tracking Color Through Time: Polychromy on Etruscan Urns from Ancient Creation to Modern Intervention, American Journal of Archaeology.


C. Brøns, J. Stenger, R. Newman, C. Cartwright, F. Gianvincenzo, Anna Katerinopoulou, Luise Ørsted Brandt, Negar Haghipour & Laura Hendriks (2023), ‘A lost chapter of ancient art’: Archaeometric examinations of panel paintings from Roman Egypt, Studies in Conservation. DOI: 10.1080/00393630.2023.2256132

C. Brøns (2023), In the artists’ studio: Materials used for mummy panel portraits. In B. van den Bercken & O. Kaper (eds.) Face to Face: The people behind the mummy portraits. Amsterdam: Allard Pierson Museum.

C. Brøns (2023), Hidden colours: How polychromy studies can aid our understanding of ancient Greco-Roman dress. In H. Frielinghaus, J. Stroszeck & A. Sieverling (eds.) Textilien im antiken Griechenland: Ein Beitrag zur Potential-Evaluierung. Beiträge zur Archäologie Griechenlands 8. Mainz.

I. Kovalev, A. Rodler, C. Brøns, T. Rehren (2023), Making and working Egyptian blue: A review of the evidence, Journal of Archaeological Science 153. https://doi.org/10.1016/j.jas.2023.105772


C. Brøns (2022), Sensuous Encounters: The Adornment of Cult Statues in ancient Greece. In J.T. García & S. Sáenz-López Pérez (eds.) Iconotropy and Cult Images from the Ancient to the Modern World. London: Routledge, 14-35.

C. Brøns, J. Stenger, J. Bredal-Jørgensen, L. Ørsted Brandt, F. Di Gianvincenzo (2022), Palmyrene polychromy: Investigations of Funerary Portraits from Palmyra in the Collections of the Ny Carlsberg Glyptotek, Copenhagen. In J. Dyer (ed.) Heritage. Special issue on polychromy in sculpture and architecture, 1199–1239.

C. Brøns (2022), All that glitters is gold. In S. Harris, C. Brøns & M. Zuchowska (eds.) Textiles in Ancient Mediterranean Iconography, Oxford: Oxbow Books, 121-138.

C. Brøns (1) & S. Harris (2022), Approaching textiles in ancient Mediterranean iconography. In S. Harris, C. Brøns & M. Zuchowska (eds.), Textiles in Ancient Mediterranean Iconography. Oxford: Oxbow Books, 1-18.

J.S. Østergaard & A. Schwartz (2022), A Late Archaic/Early Classical Greek Relief with Two Hoplites (Ny Carlsberg Glyptotek IN 2787), JdI 137, 1-37.


C. Brøns (2021), Face to Face with Roman Egypt: Interdisciplinary studies of ancient panel paintings, Journal of Roman Archaeology, doi:10.1017/S1047759421000696

C. Brøns (2021), The Colours of Ancient Greek Dress. In A.J. Batten & K. Olson (eds.), Dress and Religion in Mediterranean Antiquity. Greeks, Romans, Jews, Christians. London: Bloomsbury, 77-94.

C. Brøns (1) & L.Ø. Brandt (2021), Science and Technology. In G.O. Crocker (ed.), Encyclopedia of Medieval Dress and Textiles. Leiden: Brill.

A. Rodler, S.M. Matthys, C. Brøns, G. Artioli, C. Snoek, V. Debaille & S. Goderis (2021), Investigating the Provenance of Egyptian Blue Pigments in Ancient Roman Polychromy, Archeometriai Műhely (Archaeometry Workshop, e-journal published by the Hungarian National Museum).

J.S. Østergaard (2021), Om kunnen og kunst. Refleksioner over kunstbegrebet i oldtidskundskab (On Craft and Art. Reflections on the concept of art in high school classics teaching), LOGOS 1, 54 – 63.


C. Brøns & M. Harlow (2020), “White Men and Rainbow Women: Gendered Colour Coding in Roman Dress”, in M. Harlow, C. Michel & L. Quillien (eds.), Textiles and Gender in Antiquity. From the Orient to the Mediterranean, Bloomsbury, 219-240.

S.B. Hedegaard & C. Brøns (2020), “Lost in Translation: an introduction to the challenging task of communicating long-lost polychromy on Graeco-Roman marble sculptures”, ARID XLIV 2019, 7-28: http://www.acdan.it/analecta/analecta_44.htm

C. Brøns (2020), “Reconstructing ancient polychromy: The Beauty of Palmyra”. JEMAHS (Journal of Eastern Mediterranean Archaeology and Heritage Studies), 141-158.

C. Brøns (1), S.B. Hedegaard, J. Bredal-Jørgensen, D. Buti, G. Pastorelli (2020), “The Rarest Blue: An exceptional find of lapis lazuli on a funerary portrait from ancient Palmyra”. Archaeometry 62, no. 3.

J.S. Østergaard (2020), “Eine Studie schlechten Geschmacks? Zur Polychromie der römischen Skulptur um 200 v.Chr – 500 n.Chr. In Vinzenz Brinkmann (ed.), Bunte Götter. Die Farbigkeit antiker Skulptur – The Golden Edition. Exhibition catalogue, Liebieghaus Skulpturensammlung, 109-117.

J.S. Østergaard (2020), “Experimental reconstructions in permanent museum displays”, M. Mulliez (ed.), Reconstruction of Polychromy, Proceedings of the conference « Restituer les couleurs / Reconstruction of Polychromy » 29 nov. 31 déc. 2017 at the Archéopôle of Bordeaux, Virtual Retrospect Meeting 2018, Edition Ausonius, Collection Archéovision, 2019, 187-195.

J.S. Østergaard (2020), “Med farven som faktor: Refleksioner over polykromien i klassisk græsk skulptur”, Logos 2020, 2, 49-59.

J.S. Østergaard (2020), “‘Reconstruction’ of polychromy of ancient sculpture: A necessary evil?”, Technè 48, 2019, 110-119.

C. Brøns (2019), “Fortid i farver. Antikkens polykromi”. Danske Museer 3, 10-15.

C. Brøns & M.L. Sargent (2019), “Pigments and Dyes: The use of colourants for the depiction of garments on Egyptian mummy portraits in the Ny Carlsberg Glyptotek”, in Gleba, M., Busana, M.S., Meo, F. & Tricomi, A. (eds.), Purpureae Vestes VI. Textiles and dyes in the Mediterranean economy and society, Valencia 2019, 481-490.

S.B. Hedegaard, C. Brøns, I. Drug, P. Saulins, C. Bercu & L. Kjær (2019), “Multispectral Photogrammetry: 3D models highlighting traces of paint on ancient sculptures”, in Proceedings of the 4th Conference of the Association of Digital Humanities in the Nordic Countries:

S.B. Hedegaard, T. Delbey, C. Brøns & K.L. Rasmussen (2019), “Painting the Palace of Apries II: Ancient pigments from the Palace of Apries, Lower Egypt”. Heritage Science 7.

S.B. Hedegaard & C. Brøns (2019), “Pigments in Ancient Palmyra”, in R. Raja & A.M. Nielsen (eds.), The Road to Palmyra, 252-274.

A.S. Rodler, S. Klein, G. Artioli & C. Brøns (2019), Probing Glaze Colourants: Polychrome Faunal Reliefs from the Ishtar Gate and Processional Way of Ancient Babylon. Archaeometry. https://doi.org/10.1111/arcm.12455

S.B. Hedegaard (2018) Antikkens pigmenter ifølge Plinius, in Gaius Plinius Secundus (translated by Jacob Isager), En Antik Kunsthistorie af Plinius d. Ældre, Forlæns, Copenhagen, 325-351

C. Brøns & M. Papadopoulou (2018), True Colours: Polychromy in Ancient Greek Art and its Dissemination in Museum Collections, in M. Godýn, B. Groborz & A. Kwiatkowska-Lubańska, Colour Culture Science, Kraków, 63-68

S.B. Hedegaard (2018), Reconstructing Etruscan Architectural Polychromy: Antefixes from the Ny Carlsberg Glyptotek, in S. Bracci, G. Giachi, P. Liverani, P. Pallecchi & F. Paolucci (eds.) Polychromy in Ancient Sculpture and Architecture. Proceedings of the 7th Round Table, Florence, 4-7 November 2015, Sillabe, Florence, 36-42.

A. Skovmøller, C. Brøns & M.L. Sargent (2018), The Polychromy of the Sculpted Garments on the Statue of Gaius Fundilius Doctus in the Ny Carlsberg Glyptotek, in S. Bracci, G. Giachi, P. Liverani, P. Pallecchi & F. Paolucci (eds.) Polychromy in Ancient Sculpture and Architecture. Proceedings of the 7th Round Table, Florence, 4-7 November 2015, Sillabe, Florence, 92-99.

C. Brøns (1), S. B. Hedegaard & K. L. Rasmussen (2018), The real thing? Studies of polychromy and Authenticity of Etruscan Pinakes at the Ny Carlsberg Glyptotek. Studi Etruschi LXXIXMMXIV, 195-223.

C. Brøns, K. Lund Rasmussen, M. Melchiorre di Crescenzo, R. Stacey, A. Lluveras-Tenorio (2018) Painting the Palace of Apries I: Ancient binding media and coatings of the reliefs from the Palace of Apries, Lower Egypt, Heritage Science 6:6

C. Brøns (1) & K. Dross-Krüpe (2018), The Colour Purple? Reconsidering the Greek term halourgos (ἁλουργός) and its relation to ancient textiles. Textile History 48.2.

C. Brøns (2018) En broget fortid: antik polykromi på Ny Carlsberg Glyptotek. Carlsbergfondets Årsskrift 2018, 48-53.

C. Brøns (2018), Sensing the ancient world, CHS research bulletin 2018, issue 1.

C. Brøns (2018), Antikkens Farver, Sfinx særnummer om polykromi.

C. Brøns (2018), I farver. En verden til forskel, Sfinx særnummer om polykromi.

S.B. Hedegaard (2018), Etruriens farvestrålende terrakotter, Sfinx særnummer om polykromi.

M.L. Sargent (2018), Ægyptisk blåt – et gådefuldt pigment, Sfinx særnummer om polykromi.

A. Skovmøller (2018), At se lyset i antik, polykrom skulptur, Sfinx særnummer om polykromi.

L.Ø. Brandt (2018), Jagten på antikkens bindemidler, Sfinx særnummer om polykromi.

A. Rodler (2018), På sporet af antikkens farver, Sfinx særnummer om polykromi

J.S. Østergaard (2018) Polychromy, sculptural, Greek and Roman. In: Oxford Classical Dictionary. “Link:”:“http://classics.oxfordre.com/view/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-8118”:

C. Brøns & A. Skovmøller (2017) Colour-coding the Roman toga: The materiality of textiles represented in sculpture. Antike Kunst 60, 55-79.

C. Brøns (2017), Sacred Colours. Purple in Greek sanctuaries in the second half of the 1st millennium BC, in F. Meo & H. Landenius Enegren (eds.), Treasures from the Sea. Oxbow Books

A. Rodler, G. Artioli, S. Klein, P. Fink-Jensen & C. Brøns (2017), Provenancing Ancient Pigments: Lead Isotope Analyses of The Copper Compound of Egyptian Blue Pigments from Ancient Mediterranean Artefacts, Journal of Archaeological Science: Reports 16, 1-18.

J.S. Østergaard (2017) Om form og farve i græsk skulptur. Sfinx 40, 16-23.

J.S. Østergaard (2017) Farven vender tilbage: Et ’sandere billede’ af antik skulptur. Periskop 18, 118-137.

J.S. Østergaard, Kira Kofoed, Kristine Bøggild Johannsen, Mogens Bech (2017) Det usynlige og det synlige. Om at se det umiddelbart usynlige med teknikkens hjælp – og om ikke at se nok, på det, man allerede kan se. Magasin fra Det Kongelige Bibliotek 30, 4, 2017, pp. 3-17.

J.S. Østergaard (2017) Colour shifts: on methodologies in research on the polychromy of Greek and Roman sculpture, Proceedings of the Danish Insitute in Athens 8, 139 – 166.

A. Skovmøller & R. H. Therkildsen (2016) The polychromy of Roman polished marble portraits, in P. Pensabene and E. Gasparini (eds.), ASMOSIA X. Proceedings of the Tenth International Conference. Interdisciplinary Studies on Stone vol. II. Rome, L’Erma di Bretschneider, 891-900.

C. Brøns, S. Hedegaard & M.L. Sargent (2016) Painted Faces. Investigations of Polychromy of Etruscan Antefixes in the Ny Carlsberg Glyptotek, Etruscan Studies vol. 19.1, 2016.

A. Skovmøller, C. Brøns & M.L. Sargent (2016) Egyptian blue: modern myths, ancient realities, Journal of Roman Archaeology vol. 29, 371-387.

J.S. Østergaard (2015), Identical Roman Copies? Diversification through Colour, in S. Settis (ed.), Serial Classic / Portable Classic. Milano: Fondazione Prada, 113 – 117.

J.S. Østergaard (2015), Antik marmorskulptur: Billedhuggeren og maleren samarbejdede, Logos 2015, 2, 65-66.

J.S. Østergaard (2015), Findes ens græske originalskulpturer?, Logos 2015, 3, 72-73.

J.S. Østergaard & M.L. Sargent (2014), The Polychromy of a Female Late 2nd century CE Palmyrene Funerary Portrait, in Álvarez, J. M.; Nogales, T.; Rodà, I. (Eds.), XVIII CIAC: Centro y periferia en el mundo clásico / Centre and periphery in the ancient world. Mérida, 1231-1235.

A. Skovmøller (2014) Where Marble Meets Colour: surface texturing of hair, skin and dress on Roman marble portraits as support for painted polychromy, in M. Harlow and M.-L. Nosch (eds.), Interdisciplinary Studies in Textiles and Dress. An Interdisciplinary Anthology. Oxford, Oxbow Books, 279-297.

J.S. Østergaard, M. L. Sargent & R. H. Therkildsen (2014), The polychromy of Roman ‘ideal’ marble sculpture of the 2nd century CE, in P. Liverani – U. Santamaria (eds.), Diversamente bianco. La policromia della scultura romana. Rome: Quasar, 51 – 69.

J.S. Østerggard & A.M. Nielsen (eds.) (2014), Transformations. Classical sculpture in colour, Copenhagen. (also in Danish).

J.S. Østergaard (2013), Reflections on the Typology and Context of the Richmond Caligula, in B. Frischer (ed.), Digital Sculpture project: Caligula (Richmond, Virginia). http://www.digitalsculpture.org/papers/ostergaard/ostergaard_paper.html

J.S. Østergaard (2013), Polykromien i antik skulptur: Farverige former, Carlsbergfondets årsskrift 2013, Copenhagen, 60 – 65.

R.H. Therkildsen (2011), The Copenhagen Polychromy Network: introducing the survey protocol in documenting and investigating ancient sculptural polychromy, Medelhavsmuseet. Focus on the Mediterranean 6, 31-40.

J.S. Østergaard (2011), The Copenhagen Polychromy Network: Aims, Organization, Activities, Medelhavsmuseet. Focus on the Mediterranean 6, 23 – 30.

J.S. Østergaard (2010), The Copenhagen Polychromy Network. A Research Project on Ancient Greek and Roman Sculptural Polychromy in the Ny Carlsberg Glyptotek, in V. Brinkmann, O. Primavesi , M. Hollein (eds.), Circumlitio. The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 324 – 335.

J.S. Østergaard (2010), The Polychromy of Antique Sculpture: A Challenge to Western Ideals?, in V. Brinkmann, O. Primavesi , M. Hollein (eds.), Circumlitio. The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 78-105.